Research: The Roman madrigal at the turn of the 16th and 17th centuries
I have transcribed several pieces of music from the sixteenth and seventeenth centuries and have had the opportunity to perform some of them with different vocal groups. Over time, I have become convinced that within the 'Roman school' - in particular within that group of musicians active in Rome around Giovanni Pierluigi da Palestrina, between the second half of the sixteenth century and the beginning of the following century - different stylistic orientations coexisted, as a manifestation of equally distinct aesthetic orientations. I would like to identify, through the analysis of the music, the characteristics of the writing that distinguish, for the listener and for the singer, madrigals composed apparently with reference to the same techniques; some are easier, others seem more complex and farcical: both were extraordinarily successful.